Marc-Antoine Charpentier (1643-1704) was a French composer of the Baroque e… Read Full Bio ↴Marc-Antoine Charpentier (1643-1704) was a French composer of the Baroque era.
He was a prolific and versatile composer, producing music of the highest quality in several genres. His mastery in the composition of sacred vocal music was recognised and acknowledged by his contemporaries.
Charpentier was born in or near Paris, the son of a master scribe who had very good connections to influential families in the Parlement of Paris. Marc-Antoine received a very good education, perhaps with the help of the Jesuits, and registered for law school in Paris when he was eighteen.
He was in Rome, probably between 1667 and 1669, and studied with Giacomo Carissimi. There is a legend that Charpentier initially travelled to Rome to study painting before he was discovered by Carissimi. This story is undocumented and possibly untrue. Regardless, he acquired a solid knowledge of the contemporary Italian practice that he brought to France upon his return.
Most likely he worked for Marie de Lorraine, duchesse de Guise on his return to France, as her house composer, until her death in 1688. During this time he composed a considerable quantity of dramatic secular vocal works, as well as Psalm settings, hymns, a Magnificat setting, a mass, and motets, which he called stories and canticum.
Beginning around 1672, he worked with Molière, after Molière's falling out with Jean-Baptiste Lully. During the 1680s Charpentier served as maître de musique at the Jesuits' Paris church of St. Louis. In addition, Charpentier served as the music teacher to Philippe, Duke of Chartres. Charpentier was appointed Maître de musique à la Sainte Chapelle in 1698, a post he held until his death on 24th February 1704. One of his most famous compositions during his tenure was the Mass "Assumpta Est Maria" (H.11).
His compositions include oratorios, masses, operas, and numerous smaller pieces that are difficult to categorise. Many of his smaller works for one or two voices and instruments resemble the Italian cantata of the time, and share most features except for the name: Charpentier calls them airs sérieux or airs à boire if they are in French, but cantata if they are in Italian.
He was a prolific and versatile composer, producing music of the highest quality in several genres. His mastery in the composition of sacred vocal music was recognised and acknowledged by his contemporaries.
Charpentier was born in or near Paris, the son of a master scribe who had very good connections to influential families in the Parlement of Paris. Marc-Antoine received a very good education, perhaps with the help of the Jesuits, and registered for law school in Paris when he was eighteen.
He was in Rome, probably between 1667 and 1669, and studied with Giacomo Carissimi. There is a legend that Charpentier initially travelled to Rome to study painting before he was discovered by Carissimi. This story is undocumented and possibly untrue. Regardless, he acquired a solid knowledge of the contemporary Italian practice that he brought to France upon his return.
Most likely he worked for Marie de Lorraine, duchesse de Guise on his return to France, as her house composer, until her death in 1688. During this time he composed a considerable quantity of dramatic secular vocal works, as well as Psalm settings, hymns, a Magnificat setting, a mass, and motets, which he called stories and canticum.
Beginning around 1672, he worked with Molière, after Molière's falling out with Jean-Baptiste Lully. During the 1680s Charpentier served as maître de musique at the Jesuits' Paris church of St. Louis. In addition, Charpentier served as the music teacher to Philippe, Duke of Chartres. Charpentier was appointed Maître de musique à la Sainte Chapelle in 1698, a post he held until his death on 24th February 1704. One of his most famous compositions during his tenure was the Mass "Assumpta Est Maria" (H.11).
His compositions include oratorios, masses, operas, and numerous smaller pieces that are difficult to categorise. Many of his smaller works for one or two voices and instruments resemble the Italian cantata of the time, and share most features except for the name: Charpentier calls them airs sérieux or airs à boire if they are in French, but cantata if they are in Italian.
More Genres
More Albums
Load All
No Artists Found
More Artists
Load All
No Albums Found
No Tracks Found
01Charpentier: Te Deum for Soloists, Chorus and Orchestra, H 146 - Prélude . Rondeau1:16Marc Minkowski
03Te Deum For Soloists, Chorus And Orchestra, H 146: Te aeternum Patrem (Chorus, Soprano I/II, Mezzo-Soprano, Tenor)3:30Patrick Henckens
04Te Deum for Soloists, Chorus and Orchestra, H 146: Te Per Orbem Terrarum (Mezzo-Soprano, Tenor, Bass)3:02Patrick Henckens
05Te Deum for Soloists, Chorus and Orchestra, H 146: Tu Devicto Mortis Aculeo (Chorus, Bass)1:14Chorus of les Musiciens du Louvre
07Te Deum for Soloists, Chorus and Orchestra, H 146: Aeterna Fac Cum Sanctis Tuis (Chorus, Mezzo-Soprano, Tenor, Bass, Soprano II)2:11Patrick Henckens
08Te Deum for Soloists, Chorus and Orchestra, H 146: Dignare, Domine, Die Isto (Soprano I, Bass, Soprano II)1:33Annick Massis
09Te Deum for Soloists, Chorus and Orchestra, H 146: Fiat Misericordia Tua, Domine, Super Nos (Soprano I, Bass)1:24Annick Massis
Genre not found
Artist not found
Album not found
Search results not found
Song not found
Charpentier: Te Deum; Messe de Minuit; Nuit
Marc Minkowski Lyrics
To view the lyrics for a particular track, select it from the track list above, or search for it.